Panel
1400-1425 (made)
| Artist/Maker | |
| Place of origin |
Object Type
The panel originally formed part of an altarpiece showing scenes from the Life of Christ or the Virgin. A complete altarpiece of this type, the Swansea Altarpiece (museum no. A.89-1919), is also displayed in the British Galleries. As explained in the inscription on the case, this panel was only later transformed into a single sculpture, with painted panels serving as wings.
Time
The vast majority of the late medieval sculptures of England was destroyed in the period between 1535 and 1555, during the Dissolution of the Monasteries under Henry VIII and the subsequent Reformation. Individuals who were sympathetic to the Catholic Church, or had an attachment to individual pieces, occasionally tried to hide or preserve these works of art. Given its good condition, it is likely that this panel was hidden in the house referred to in the inscription - probably a monastic foundation - and only came to light a century and a half later. Its reuse in the late 17th century is a rare and early example of antiquarian, possibly Roman Catholic, interest in medieval imagery.
Subjects Depicted
The moment of Christ's Ascension to Heaven is shown. Only the feet and lower draperies of Christ are visible as he rises from the flat stone at the middle of the composition. Small angels swing censers to each side and, below, the Virgin and eleven Apostles gaze upwards in astonishment. Most of the Apostles are identified by their attributes. St Andrew, for instance, holds his large X-shaped cross and St Peter his key, tucked under his armpit.
The panel originally formed part of an altarpiece showing scenes from the Life of Christ or the Virgin. A complete altarpiece of this type, the Swansea Altarpiece (museum no. A.89-1919), is also displayed in the British Galleries. As explained in the inscription on the case, this panel was only later transformed into a single sculpture, with painted panels serving as wings.
Time
The vast majority of the late medieval sculptures of England was destroyed in the period between 1535 and 1555, during the Dissolution of the Monasteries under Henry VIII and the subsequent Reformation. Individuals who were sympathetic to the Catholic Church, or had an attachment to individual pieces, occasionally tried to hide or preserve these works of art. Given its good condition, it is likely that this panel was hidden in the house referred to in the inscription - probably a monastic foundation - and only came to light a century and a half later. Its reuse in the late 17th century is a rare and early example of antiquarian, possibly Roman Catholic, interest in medieval imagery.
Subjects Depicted
The moment of Christ's Ascension to Heaven is shown. Only the feet and lower draperies of Christ are visible as he rises from the flat stone at the middle of the composition. Small angels swing censers to each side and, below, the Virgin and eleven Apostles gaze upwards in astonishment. Most of the Apostles are identified by their attributes. St Andrew, for instance, holds his large X-shaped cross and St Peter his key, tucked under his armpit.
Object details
| Categories | |
| Object type | |
| Materials and techniques | Carved alabaster panel in a painted wooden frame |
| Brief description | Panel, alabaster, wooden frame, The Ascension, England, 1400-1425 |
| Physical description | Carved alabaster panel showing the Ascension, in a wooden frame painted with the Crucifixion and the Ascension |
| Dimensions |
|
| Marks and inscriptions | The peice was found in ye Ruines of An house att [space] near Yorke, Procur'd & Beautified By William Richardson of Norhtbierley 1689 (This inscription appears on the frame. The William Richardson referred to lived 1666-1716, and was the younger brother of Richard Richardson.) |
| Gallery label | British Galleries:
The painted inscriptions record that the central panel 'was found in ye ruines of a house...near Yorke... by William Richardson...'. Clearly, he valued it as a relic, having the case made to present it in the form of a Medieval altarpiece.(27/03/2003) |
| Credit line | Given by Dr W. L. Hildburgh FSA |
| Production | Panel 1400-1425; case dated 1689 |
| Subjects depicted | |
| Summary | Object Type The panel originally formed part of an altarpiece showing scenes from the Life of Christ or the Virgin. A complete altarpiece of this type, the Swansea Altarpiece (museum no. A.89-1919), is also displayed in the British Galleries. As explained in the inscription on the case, this panel was only later transformed into a single sculpture, with painted panels serving as wings. Time The vast majority of the late medieval sculptures of England was destroyed in the period between 1535 and 1555, during the Dissolution of the Monasteries under Henry VIII and the subsequent Reformation. Individuals who were sympathetic to the Catholic Church, or had an attachment to individual pieces, occasionally tried to hide or preserve these works of art. Given its good condition, it is likely that this panel was hidden in the house referred to in the inscription - probably a monastic foundation - and only came to light a century and a half later. Its reuse in the late 17th century is a rare and early example of antiquarian, possibly Roman Catholic, interest in medieval imagery. Subjects Depicted The moment of Christ's Ascension to Heaven is shown. Only the feet and lower draperies of Christ are visible as he rises from the flat stone at the middle of the composition. Small angels swing censers to each side and, below, the Virgin and eleven Apostles gaze upwards in astonishment. Most of the Apostles are identified by their attributes. St Andrew, for instance, holds his large X-shaped cross and St Peter his key, tucked under his armpit. |
| Bibliographic reference | English Medieval Alabaster Carvings : York Festival Exhibition. York : City of York Art Gallery, 1954
no.88 |
| Collection | |
| Accession number | A.112-1946 |
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| Record created | March 27, 2003 |
| Record URL |
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